Audiences
couldn’t ask for two more different operas than “The Consul” and “The Barber of
Seville.” One is a dark exploration of bureaucracy and totalitarianism while the other is an iconic musical comedy. Both,
however, are longtime favorites among opera fans and will kick off the University
of Houston Moores Opera Center’s winter repertoire.

The
center will deliver both classics Jan. 23 – 27 in the University’s Moores Opera
House (Entrance 16 off Cullen Boulevard). Tickets are $20 and $12 for students
and seniors. They can be purchased by calling 713-743-3313 or through the Moores online box office.

Performance
times and dates are as follows:

“The Consul” – 7:30 p.m., Jan. 23,
25, 26

“The Barber of Seville” – 7:30 p.m.,
Jan. 24, 27 and 2 p.m., Jan. 26

Gian
Carlo Menotti’s “The Consul” premiered on Broadway in 1950. Its plot focuses on
John Sorel, a political outcast on the run from government agents. His wife,
Magda, desperately tries to join him by obtaining a visa. Unfortunately, her
efforts are hindered when she arrives at a crowded consul’s office, where the
Secretary holds the keys to her family’s fate. Meanwhile, husband John is
determined to reunite with his family.

This
will be the third Moores Opera Center production of “The Consul” and the first
time it will be performed in the Moores Opera House.

“I
believe strongly in this piece,” said Buck Ross, director of the Moores Opera
Center. “It’s only one of three operas we have performed more than twice. It’s
a terrific opera and a great work for our singers.”

Principal
roles are performed by UH students. Cast members include Gwendolyn Alfred and
Emily Robinson alternating the role of Magda Sorel, Austin Hoeltzel and Matthew
Konopacki alternating the role of John Sorel, Nicole Woodward as the Secretary
and Amy Sheffer as the Mother.

Gioachino
Rossini’s “The Barber of Seville” premiered in 1816. It focuses on the love
struck Count Almaviva who is vying for the affections of the beautiful Rosina.
Unfortunately, she is guarded by her elder ward and would-be groom Bartolo. The
Count assumes several guises to conceal his wealth and enlists the aid of
former servant Figaro.

“’The
Barber of Seville’ has become part of our culture. Even those who are not
familiar with the opera itself know ‘Figaro,’” Ross said. “It offers one
astonishingly good piece of music after another. Just when you think it’s
reached its high point, something else comes along that tops it.”

Ross
is directing “The Barber of Seville” and Jake Sustaita, assistant conductor for
the Moores Opera Center, is conducting the music. Principal roles are played by
students Brian Yeakley as Count Almavia, James Rodriguez and Blas Canedo
alternating as Figaro, and Kyla Knox and Julie Thornton alternating as Rosina.

The
Moores Opera Center recently received honors from the National Opera Association
(NOA). Its 2013 production of “Moscow,
Cheryomushki” took first place Division V in the association’s national
competition. Its 2013 production of “Rigoletto” earned second place in Division
IV.